We found 331 price guide item(s) matching your search

Canteen of cutlery, oak biscuit and sherry barrels, chamber pots, smoker stands, coal bin, wall clock, etc

Oak mantel clock, brass teapot stand, chamber stick and snuffer, Arthur Wood wall pocket, etc

An Oak striking mantel clock, Voigtlander camera, Ebony dressing table wares plus two floral chamber pots

An amusing pewter chamber pot, a mantel clock, in a spelter figural and green onyx case, and a set of scales and weights

Two Pairs of Brass Candlesticks, together with a chamber candlestick, pr. cauldrons, pr. birds, a modern carriage clock and three crystal and gilt metal animals & birds.

A French Third Republic boulle drum head mantel clock, 10cm enamel dial inscribed Connell, Paris, Roman numerals, twin winding holes, 14-day movement with visble Brocot escapement, the case veneered overall in cotre-partie, glazed pendulum chamber, plinth base, 43cm high, c.1880 William Connell (1817-1869) was a London maker who was sucvceeded by his son William George, who was also a prominent London retailer of clocks who also had a shop in Paris in 1881

A fine German gilt brass quarter striking table clock with annual calendar... A fine German gilt brass quarter striking table clock with annual calendar dial Engraved with initials P K F R , dated 155(4?) The posted iron triple fusee movement of 'cruciform' layout centred with longitudinal going train with verge escapement regulated by steel two-arm balance set above the top plate flanked by transverse quarter train opposing conforming strike train, the quarter train with cannon warning arbor applied over the locking detent arbor released via capstan wheel driven by the underdial motionwork operating a sliding shunt and sounding on a bell mounted within the superstructure above, the hour strike train now fitted with countwheel for Italian double six-hour striking and released in-turn by the quarter train via detent engaging with pins to the quarter countwheel and arbor passing across the front of the movement, the exterior with annual calendar dial now with vacant centre within concentric Zodiacal scale engraved for the Julian calendar divided onto five day intervals to inner track within reserve engraved with pictorial representations and respective symbols with divisions for every day to the outer track, the applied ring aligned with the Zodiacal scale and divided in a similar manner with each month labelled in Latin along with its length, the spandrel areas engraved with symmetrical hatched foliate scroll infill over conforming band to apron incorporating pivoted shutter for the vacant alarm winding hole engraved with the initials P K, F R , the opposing side now applied with twelve-hour chapter disc with hatched foliate scroll engraved centre within concentric Arabic numerals 13-24 and outer Roman numerals, the upper spandrel areas with conforming foliate infill, the lower margins engraved to match and now applied with three vestigial subsidiary dials for day-of-the-week, quarter-hours and date-of-the-month, the quarter train side with panel engraved with a Classical female playing a harp within an architectural archway fitted with shuttered winding hole for the quarters and another vacant hole probably originally for remote winding of the going train over hatched foliate scroll engraved panel to lower margin, the opposing strike train side with subsidiary countwheel position dial annotated in Arabic numerals 1-12 over vestigial alarm setting dial within further hatched leafy trail infill, the top with fine ogee-outline cupola with complex rectangular section spire finial over stylised flower buds applied to shoulders and six pierced circular portrait panels each depicting an allegorical profile within hatched leafy scroll decorated panel infill, the slender moulded cornice applied with squat urn finials and engraved with text DIE . STUND . UND . TAG . 155(4?) over the calendar dial opposing WACHET . DAN . IR . WIST . NIT over the hour dial, the angles incorporating square section three-quarter pilasters and plinths decorated with scribed-line panels, on shallow inverted breakfronted cavetto moulded base engraved with stylised interlaced foliate motifs, (losses/replacements to dials and motionwork), 22cm (9.75ins) high. Provenance: The beneficiaries of the Estate of an Italian connoisseur collector of horological artefacts and works of art. Comparative literature: Maurice, Klaus and Mayr, Otto THE CLOCKWORK UNIVERSE, GERMAN CLOCKS AND AUTOMATA 1550-1650 pages 182-85 and 189-90. The current lot employs the archetypical 'cruciform' layout to the movement (where the going train is positioned longitudinally in the centre flanked by transverse quarter and hour strike trains) favoured by the south German makers of the finest 'Masterpiece' table clocks from the mid 16th century until the end of the 17th century. From a practical point of view this layout adds a degree of complexity with regards to resolving the lifting of the strike and quarter trains but has the significant benefit of allowing each face of the case to be fitted with dials/features directly relating to the function of mechanism behind. This benefit is particularly relevant when considering the statutory requirement (specifications) of a 'Masterpiece' as dictated by the Augsburg clockmakers' guild in 1558 as transcribed in Maurice, Klaus and Mayr, Otto THE CLOCKWORK UNIVERSE, GERMAN CLOCKS AND AUTOMATA 1550-1650 on page 67: " Mastepieces of 1558 Small-clock makers: A clock a span high, without weights, to strike each quarter-hour. The astrolabe runs as part of the clock. A small flat clock or spherical clock with the phases of the moon; the latter to move forward in time with the hand ." In order for the current lot to fulfil the above requirements it would have need to have been fitted with an astrolabic dial and one showing the phases of the moon. When considering the layout of the clock it is conceivable that an astrolabe was originally fitted to the centre of the side now applied with the twelve-hour chapter disc, however the inscription to the cornice above - DIE . STUND . UND . TAG would perhaps suggest otherwise as this simply translates as THE HOUR AND DAY. From this it is more likely that that the original dial configuration to this side was limited to time, day-of-week and date-of-month functions alone. The other side retains its original year calendar complete with Zodiacal divisions however the central feature is now missing. A clue to what was originally fitted in this space may again be suggested by the inscription to the cornice above - WACHET . DAN . WIST . NIT. Unfortunately there appears to be no direct translation for this phrase, however when considering the inscription in broadly linguistic terms it may be appropriate to speculate that it relates to day and night indication. If this is the case then the centre of the dial may well have originally been fitted with a dial indicating the variance in the relative length of the day and night throughout the year. Alternatively, as more commonly seen, the centre may have featured a disc pierced for the phases of the moon. In addition to either of these two functions the annual calendar dial would have most likely had hands to indicate the date of the year and the zodialogical aspect of the sun. One slight complicating factor regarding the reconstruction of the moving elements to the centre is the presence of the going train winding square. However examination of the going train fusee and other evidence within the movement and quarter-strike side of the case suggests that the going train may have originally been fitted with indirect winding from the side. This would have left the dial centre (and indeed the motionwork behind) free of obstruction. The distinctly two-dimensional external decoration of the current lot is unusual and differs from the fashion for intense sculpted relief made popular by makers such as Jeremias Metzger during the mid 1550's. However the decorative effect of the pierced and engraved profile portraits to the dome is particularly pleasing. The applied stylised flower heads to the angles of the cupola are also unusual being reminiscent of similar decoration seen on Gothic iron chamber clocks of the period. The movement is particularly well executed with fine delicate wheelwork which is remarkable when considering that each wheel was hand forged, cut and filed. The provision of a fairly complex system of warned striking is also testament to the clockmakers technical ability.

A collection of small silver and silver mounted items, including A collection of small silver and silver mounted items, including: a rectangular travelling desk clock by Cohen & Charles, Chester 1914, with a watch movement, Arabic hands, subsidiary seconds dial and blued steel spade hands, on bun feet, 7cm (2 3/4in) high with handle down; a circular chamber candlestick by H. Clifford Davis Ltd, Birmingham 1948; two cut glass scent bottles; a miniature tripod table and side chair; and other items, 402g (12.95 oz) weighable Provenance: From the collection of June Whitfield CBE ( see illustration on our website )

SECOND WORLD WAR - THE BLITZ - AN EXTREMELY RARE AND ICONIC SPLINTERED PANEL RELIC OF PUGIN DESIGNED CARVING RECOVERED FROM THE BOMBED REMAINS OF THE CHAMBER OF THE HOUSE OF COMMONS 1941 with applied paper label inscribed in ink 'Piece of the Panelling fron the Old Chamber of the House of Commons Destroyed by German Bomb on May 10th 1941', 55cm long As a prominent and iconic target in Westminster, the Houses of Parliament suffered repeated bomb damage during the Second World War. In all, a total of fourteen bomb damage incidents were recorded. Twelve high explosive (HE) bombs and dozens of small incendiaries hit the grounds of Parliament directly. Nine HE bombs exploded, three hit but failed to explode; two anti-aircraft shells detonated nearby; one all-consuming fire was caused by incendiaries. On 11 September 1940, indirect blast from a high explosive bomb damaged the House of Commons Terrace and a falling anti-aircraft shell hit the Commons Library. In the early hours of 27 September, a high explosive bomb fell in Old Palace Yard, blowing out the House of Lords' main windows and damaging St Stephen's Porch and the statue of Richard the Lionheart. In response, both Houses of Parliament left their respective Chambers and moved to the Church House Annexe in nearby Dean's Yard, Westminster (in November 1940). On 8 December 1940, the 16th century Cloister Court was hit and extensive damage caused to the Members' Cloakroom, MPs' offices, staircases and the crypt. On 17 April, 1941, the Speaker's Residence was damaged, first by a single high explosive bomb and two days later by another which failed to explode. The most serious damage to Parliament took place during the heavy night raid of 10-11 May 1941. An incendiary fell onto the 350-foot high Victoria Tower (in 1941 covered by outside scaffolding for repairs). A police sergeant bravely climbed the scaffolding and extinguished the burning magnesium with a sandbag. Next, several high explosive bombs hit near the western courtyard, killing two auxiliary policemen and blowing down heavy debris. Another smashed down into an ARP control room but failed to explode. The Commons Chamber was hit by a high explosive bomb and the wooden hammer-beam roof of the 600-year old Westminster Hall (built in 1097 by William Rufus, son of William the Conqueror and rebuilt by Richard II in 1399-1401) was set on fire by falling incendiaries. Firemen broke down the doors to the Hall with axes and played water upwards onto the burning rafters. Soon, these crews were standing waist-deep in water whilst burning debris fell on them from above. The flames rapidly burnt through the medieval timber of Westminster Hall's roof, creating a huge hole. In response, fire crews hosed the roof throughout the night, pumping water directly from the Thames after their own reserves ran dry. Elsewhere, fires raged through the smashed Commons Chamber. 50 fire pumps struggled to contain the flames. The Fire Service concluded that: 'it would be impossible to save both the Chamber and the Hall so it was decided to concentrate on saving the Hall.' The Members' Lobby of the House of Commons was also destroyed. Connecting doors were ripped off their hinges and all its windows were blown out, creating large piles of glass and debris. The geographical layout of Parliament proved problematic for the responding ARP wardens and rescue squads. Five miles or more of corridors and 1,000 separate rooms, many littered with smoking debris, seriously hindered acess. Fatalities discovered on 11 May included Captain E.L.H Elliott, the resident Superintendent, the two auxiliary policemen and the manager of the Precinct. The Clock Tower (housing the world famous Big Ben bell) also suffered damage that night. The glass of the southern clock face was shattered by a falling small calibre high explosive bomb. The upper Clock Tower was blackened by smoke. The 1859 London landmark lost a half second and its chimes were temporarily put out of action. But both Big Ben and and the main clock mechanism survived. The clock's hour and minute hands remained functional throughout the raid. To the relief of Londoners, the Clock Tower was seen still standing the next day, mirroring, many felt, their morale during the Blitz. Winston Churchill's Assistant Private Secretary, John 'Jock' Colville, walked through Parliament Square early on 11 May and noted in his diary that: 'I talked to a fireman. He showed me Big Ben, the face of which was pocked and scarred, and told me a bomb had gone right through the Tower' (Sir John Colville,'The Fringes of Power. Downing Street Diaries 1939-1955', 1985). On the morning of 11 May, the House of Commons Chamber was revealed as a smouldering ruin open to the sky. The 19th century interior features of the 'Mother of Parliaments' had been burnt to ashes. The bar no longer stood to check intruders, the Speaker's chair was lost and the world-famous padded green leather seats were charred and drenched by water.After the raid of 10-11 May, both Houses sat in Church House Annexe from 13 May 1941 to July 1941, again from June to August 1944 (during the V-Weapons campaign) and then in the undamaged House of Lords Chamber until October 1950. Throughout the Blitz, MPs undertook regular firewatching duties, stationed overnight within Parliament's precincts.

A FURNIVAL'S FLOW BLUE EARTHENWARE CHAMBER JUG AND BASIN, ANOTHER, A PAIR OF DRESDEN PINK GROUND VASES AND MISCELLANEOUS OTHER ORNAMENTAL CERAMICS, ETC TO INCLUDE A VICTORIAN GLASS CLOCK DOME AND STICK STAND

A German made metal mounted green glass dolls house Flagon with three Mugs, pewter type tea set, three blue and clear glass friggers, two taper sticks, metal ink stand, 'Family Physician' chamber pot, mantel clock, gilt carpet sweeper, gilt tray

A French Louis XV black ormolu-mounted Boullework bracket clock, brass inlaid tortoiseshell case, with Cupid decoration on the door, gilt dial with enameled tablet numerals and brass rococo mounts. A drawing of a queen in a Venetian background features at the ceiling of the interior of the clock's chamber. Probably a drawing of Queen of Cyprus, Caterina Cornaro. H61cm, W42cm, D17cm. Missing the bracket and top finial. In need of restoration. c18th century. Weight: 10.66Kg Reserve:€800 In-House Packing & Shipping Worldwide.

A mahogany grandfather clock with painted face of birds and maps and glass chamber.

Ansonia mahogany cased drop dial wall clock, mast head lamp, oil lamp, chamber stick, and an Indian brass ewer.

A 19th century black and red marble mantel clock with French striking drum movement; a pair of brass candlesticks and chamber sticks

A rare German miniature brass mounted iron chamber timepiece with alarm Unsigned, late 16th or early 17th century The single train weight-driven movement constructed with the train set within a rectangular iron strip frame and now with verge escapement regulated by short bob 'cow tail' pendulum swinging in front of the dial, the alarm mechanism positioned within the frame in front of the escapement with hammer arbor passing through the top plate for sounding on a bell mounted above the case, the front with circular brass dial centred with an adjustable alarm disc with crossed-out radial star centre within Roman numeral chapter ring incorporating concentric inner band stamped with Arabic numerals 13-24, touch pieces to circumference and single iron hand, the upper and lower margins applied with integral overlaid pierced brass decoration engraved with dolphins and foliate scrollwork, the brown and stylised leafy scroll painted iron box-form case with onion-shaped crest to front panel and landscape cartouche panel painted decoration to the side doors, the rear with hanging hoop and spurs, (with restoration), 16.5cm (6.5ins) high. Provenance: From the estate of an esteemed antiquarian horologist, acquired at Sotheby's Olympia, London, 19th June 2003 (lot 65). The current lot would have almost certainly been made as a travelling alarm timepiece designed to be quickly and easily set-up in the owner's overnight lodgings - very much in the same manner as English lantern alarm timepieces were used later in the century. The basic construction of the movement follows typical early German gothic practice with the frame formed essentially as a vertical rectangular loop around the train, however the brass dial and surrounding applied decoration demonstrates a degree of high-status sophistication rarely seen on an iron chamber clock. The use of touch pieces and inner concentric Arabic numeral chapters ( 13-24 ) has its roots in early 16th century South German practice as can be seen in Bassemann- Jordan, Ernst von THE BOOK OF OLD CLOCKS AND WATCHES on page 62 (figures 38a - c) which illustrates a drum clock attributed to Henlein of Nuremburg dated 1510 with related dial layout. The stamped numerals (in particular the '2's expressed as 'Z's) is also typical of South German (Nuremburg and Augsberg) work of the second half of the 16th century, whilst the unusual dolphin or mythical boar whale decoration was almost certainly influenced by the engravings of Conrad Gesner of Zurich which appear in his 1551-8 work Historiae Animalium.

Vienna wall clock, table linen, brass companion set and pair of chamber sticks, copper kettle and needlework picture

A gilt and white metal dolls house lidded Basket, novelty clock Tape Measure, glass carrier, small table, bird in cage, figure of Chinese Officer, jugs, chamber pot, glassware etc

A LARGE FRENCH BRASS CASED FOUR-GLASS MANTLE CLOCK, Paris c.1880, with flat outset top above a bevelled panel door enclosing a circular enamel dial with Roman numerals and double chamber mercury pendulum. 36.5cm high

A quantity of miscellanea including Seiko quartz clock, Powder Flask, wooden pair of oriental Salad Servers, ornate carved Mirror Frame, Metronome (front panel missing), Chamber stick with glass funnel, etc.

A Le Coultre Atmos clock, later Rhodium plated, the fifteen jewel 519 calibre single train movement wound via the expansion and contraction of an aneroid chamber mounted to the rear of the mechanism and regulated by torsion escapement with rotating balance suspended beneath, signed LECOULTRE, SWITZERLAND 23½ x 21cm (9 x 8in)

A cut glass salad bowl and blue cut glass servers, six cut glass champagne flutes, chamber pot, Aynsley small clock and cruet set, brass, rose bowl, etc

Wedgwood blue Jasperware mantel clock, clockwork movement, 15cm, another Wedgwood Jasperware mantel clock, a chamber stick, tyg and other items.

A Germanic iron framed weight-driven rack striking chamber clock with trip... A Germanic iron framed weight-driven rack striking chamber clock with trip hour-repeat Unsigned, second half of the 18th century The posted movement with substantial square section uprights and two-tier top plate enclosing verge escapement regulated by front swinging short bob pendulum, the strike train with large diameter snail fitted to the hour pipe and rack placed at the rear gathered by a pawl fitted to the second wheel arbor and sounding on a bell mounted on the top plate, the 7.5 inch square painted iron dial plate with circular cream Roman numeral centre and scroll pierced brass hands within Arabic five minute outer track and plain green painted spandrel areas beneath symmetrical foliate scroll strapwork pierced fret, the sides with iron-red painted doors, the rear with conforming fixed panel fitted with pull-repeat ring, hanging hoop and spurs, on threaded iron feet, 30.5cm (12ins) high. The current lot is reminiscent of an early Dutch 'Twentse Stoelklok' movement and dial (see Edwards, Ernest L. WEIGHT DRIVEN DUTCH CLOCKS & THEIR JAPANESE CONNECTIONS page 89) however its heavy iron frame, front swinging pendulum, pierced iron crest and configuration as a 'hook and spike' wall clock would suggest Germanic origins. Please note:We have been reliably informed that this clock was almost certainly made in the village of Pesariis in the Fruili region of the Dolomites hence is Italian rather than Germanic.

An Italian iron and brass small chamber clock Unsigned An Italian iron and brass small chamber clock Unsigned, circa 1700 and later The two train weight-driven posted countwheel bell striking movement with verge escapement mounted above the top plate regulated by short bob pendulum swinging to the rear, the frame with square brass plates united by substantial steel square section corner posts with faceted strike detent arbors pivoted between to the left hand side, the front with rectangular dial applied with 5.5 inch Roman numeral six-hour chapter ring with quarter divisions to inner track, stylised foliate engraved half hour markers and now with two brass hands, the exterior with domed bell and vase finials above brass side doors and fixed backplate, on turned bun feet, (lacking weights), 28cm (11ins) high. The practice of dividing each day into four periods was probably inherited from the Romans who combined it with the unequal hour system where the day started at dawn with the other periods starting from noon, dusk and midnight. Naturally this system meant that the duration of each period varied throughout the year. The later Italian hour system (in use by the start of the Renaissance) continued with the division of the day into four periods but with each being equal in length and divided into six hours with day now starting at sunset. Early Renaissance clocks were often annotated with tables denoting the time of sunrise and sunset for any given day throughout the year. The six hour dial also had other advantages; one being that it is easier to read the time more accurately on watch dial due to larger spacing between the hour numerals (although early watches were notoriously poor timekeepers!). Clocks using the six hour system also required less reserve in their strike trains compared to one using the more usual twelve hour strike system. This was possibly one of the reasons why many public clocks came to be made to announce the hour twice - once on or just before the hour, and again a minute or so later (presumably to serve as a reminder).

A fine James II gilt brass mounted ebony small basket top table timepiece with silent-pull quarter-repeat on two bells Henry Jones, London, circa 1685-90  The seven finned and knopped pillar movement with verge escapement regulated by short bob pendulum and silent-pull quarter-repeat sounding the hours and quarters on two bells mounted above the plates, the single line-bordered symmetrical foliate scroll and tulip bud engraved backplate signed  Henry Jones, in the Temple   to a leafy scroll bordered cartouche to centre, the 6.125 inch square brass dial with single winding hole to the finely matted centre within applied silvered Roman numeral chapter ring with squat stylised fleur-de-lys half hour markers and Arabic five minutes within the narrow outer minute track, with pierced steel hands and winged cherub mask cast brass spandrels to angles, the ebony veneered case with hinged tied floral bud, bird's head and dolphin cast handle to the foliate pierced domed ºsket' caddy surmount decorated with cherub masks, Ho-Ho birds and floral swags flanked by figural terms to angles over ogee cornice top moulding and glazed front door applied with gilt foliate scroll mounts to jambs, the sides with conforming rectangular windows beneath lozenge-shaped repousse brass sound frets centred with cherub mask motifs, the rear with further rectangular glazed door set within the frame of the case, the base with shallow ogee moulded skirt over brass disc feet, 32cm (12.5ins) high excluding handle. Henry Jones is an important maker who is recorded in Loomes, Brian  Clockmakers of Britain 1286-1700   as born to William Jones at Boulder, Hampshire in 1634. He was apprenticed to Edward East in August 1654 gaining his Freedom of the Clockmakers' Company in July 1663. Jones is thought to have initially worked as journeyman to Edward East before setting up on his own in the Inner Temple, London by 1772. In 1775 he is recorded as 'in Inner Temple Lane' prior to being appointed as an Assistant of the Clockmakers' Company the following year. Henry Jones was subsequently made a Warden in 1687 and finally served as Master of the Company in 1691. Amongst his many apprentices were Francis Robinson (freed 1707) and two of his sons, Henry (freed April 1678) and William (not freed). In 1692 Jones gave the Clockmakers' Company £100 'for the use of the poor'; he died in 1694 leaving his workshop in the hands of his widow, Hannah, who is known to have supplied clocks signed in her name. The current lot is designed to sound the hours and quarters on two bells only on demand. This form of quarter repeat mechanism is thought to have been devised for night-time use in the bedroom; whilst striking clocks with quarter repeat facility were generally intended to be utilised downstairs during the day and upstairs at night. As a consequence 'silent-pull' quarter repeating timepieces are rarer as the original owner have to have been extremely wealthy to afford a timepiece reserved exclusively for use in the bed chamber. The design of the repeat mechanism used in the current lot is essentially based on the system used by Joseph Knibb as described and illustrated in Allix, Charles and Harvey, Laurence  HOBSON'S CHOICE   pages 36-7. The design and execution of the engraved decoration to the backplate of the current lot can be very closely compared to that of the only known table clock by Peter Knibb which is illustrated in Lee, Ronald A.  The Knibb Family, Clockmakers   page 129, plate 139. Lee also illustrates (on the preceding page, plate 138) another closely related backplate for a clock by John Knibb, Oxford and notes that both have internal rack striking, which would suggest that each date from the mid 1680's.  The dial, with its distinctive relatively strong concentric engraving and squat fleur-de-lys half hour markers to the chapter ring ... [Please contact Auctioneer for full lot description]

AN AMERICAN CAST BRASS AND PATINATED SPELTER MANTEL CLOCK, of neoclassical French style, together with a brass ejector chamber stick and a gilt metal vase or bowl foot ring (3)

Tray of assorted items to include metal study of a boat (extra 55 cognac), brass figural and architectural clock, box of plastic dominoes, Royal Winton chamber pot, various books to include 'Sacred Art', 'Photographic Views of the New Worlds' etc.

Horse brasses, chamber stick, trivet, mantle clock, table easel stands etc

AN IMARI PORCELAIN BOWL, c.1900; together with a gilt and green glass bowl and cover; two heavy square onyx ash trays; four square green marble ash trays; nine Judi Lardener art pottery ash trays; a Youghal pottery chamber candlestick; an Ainsley mantle clock; and another ash tray and cigarette lighter. (a lot)

A white metal slave bangle Dish, plated Chamber Candlesticks, plated Fish Servers, two Mugs, Brandy Saucepan, Butter Dish, Entree Dish, Pepperettes, pair Sauce Boats, Oriental Bowl, A/F, Nef, folding Camera, Clock and Barometer in folding case, etc

An Italian brass chamber clock, Lorenzo Riviera, late 17th century, The two train weight-driven posted countwheel bell striking movement configured with verge escapement mounted above the top plate and short bob pendulum swinging to the rear, the countwheel cut for Italian six hour striking with each count cut twice in order for the previous hour to be automatically repeated when activated by a second lifting pin positioned soon after the first, the frame with square brass plates united by slender square section column uprights with moulded caps and bases with unusual herringbone engraved and lozenge faceted strike detent arbors pivoted between, the front with rectangular single-sheet brass dial engraved with 4.25 inch Roman numeral chapter ring with quarter divisions to inner track and stylised foliate engraved half hour markers, the centre decorated with a romantic mountain landscape, the upper and lower margins engraved with fine symmetrical foliate scroll strapwork centred with a grotesque mask to top and rococo scroll bordered cartouche signed LORENZO, RIVIERA, FECE at the base, the exterior with domed bell and generous ovoid vase finials above open sides and rear, on turned bun feet, (one finial, hand, escapement and elements of movement lacking, no pendulum or weights), 30cm (11.75ins) high. The current lot appears to be a fairly typical example of an Italian ‘lantern’ clock dating to the end of the 17th century. The movement is particularly well finished with highly decorative collets and engraved steel strike detent arbors pivoted between the frame posts. The dial is finely engraved with the foliate strapwork being very similar to that found on the backplates of English table clocks of the period. Despite such sophistication in the decorative detail, the movement possesses many relatively ‘archaic’ features - most notably the hand arbor being fixed securely to the hour wheel, and strike lifting via a nag’s head engaging with pairs of pins fitted to the going train greatwheel. These details are more typical of 16th century Gothic practice (and require the trains to be ‘run through’ to set the time and synchronise the strike) than 17th century Renaissance work, as strike activation had already been greatly improved by the introduction of a starwheel for lifting fitted (along with the hand) via a friction clutch to the hour wheel behind the dial. This refinement allowed the time to be set and adjustment of strike lifting without having to ‘run through’ the going train, and had been a standard feature on English lantern clocks since the beginning of the 17th century.

An Italian iron and brass small chamber clock, Unsigned, circa 1700, The two train weight-driven posted countwheel bell striking movement with verge escapement mounted above the top plate and short bob pendulum swinging to the rear, the frame with square brass plates united by substantial steel square section corner posts with faceted strike detent arbors pivoted between to the left hand side, the front with rectangular dial applied with 5.5 inch Roman numeral six-hour chapter ring with quarter divisions to inner track and stylised foliate engraved half hour markers, the exterior with domed bell and vase finials above brass side doors and fixed backplate, on turned bun feet, (lacking weights), 28cm (11ins) high. The practice of dividing each day into four periods was probably inherited from the Romans who combined it with the unequal hour system where the day started at dawn with the other periods starting from noon, dusk and midnight. Naturally this system meant that the duration of each period varied throughout the year. The later Italian hour system (in use by the start of the Renaissance) continued with the division of the day into four periods but with each being equal in length and divided into six hours with day now starting at sunset. Early Renaissance clocks were often annotated with tables denoting the time of sunrise and sunset for any given day throughout the year. The six hour dial also had other advantages; one being that it is easier to read the time more accurately on watch dial due to larger spacing between the hour numerals (although early watches were notoriously poor timekeepers!). Clocks using the six hour system also required less reserve in their strike trains compared to one using the more usual twelve hour strike system. This was possibly one of the reasons why many public clocks came to be made to announce the hour twice - once on or just before the hour, and again a minute or so later (presumably to serve as a reminder).

Slipper bed pan, chamber pots, cameras, glassware, two pottery mixing bowls, large Oriental vase, cased cutlery, mantel clock, four piece Picquot ware tea set etc

SMALL SELECTION OF PHOTOGRAPHIC TOPOGRAPHICAL POSTCARDS, also a MINIATURE `DIAMOND GUIDE TO THE SIGHTS OF LONDON`, a Victorian Book of Common Prayer, published 1856 in leather binding mounted with gilt metal, an alabaster and gilt metal plaquette from a mantel clock, a pewter chamber stick, a SMALL ELKINGTON AND COL., E.P.N.S. TODDY LADLE with whalebone handle, and two plated Napkin rings also a SMALL MODERN HUNGARIAN OIL PAINTING `Still Life`

Cased set of silver handled tea knives, six teaspoons, small photograph frame, spoon, pair of brass chamber sticks, pair of candlesticks, small telescope, metronome, mantel clock and a copper shot flask.

Historical DocumentsEmpress Eugénie1873 (4 June) A.L.S. to the Maharajah of Bhopal on blue mourning paper with Camden Place, Chislehurst letterhead, written in French it is signed "Eugénie". The letter thanks the Maharajah for his letter of condolence on the death of the Emperor. With a translation into English by a political agent and two letters from the Maharajah bearing his seal in black. Bound. Usual folding creases, some damp damage on the unwritten side of the letter. Photo Eugénie (1826-1920). Empress of France; influential wife of Napoleon III and flamboyant fashion leader. She went to Paris when Louis-Napoléon became president of the Second Republic in December 1848. They were married in January 1853 after he had become the emperor Napoleon III. Camden Place was a two-storey red-bricked house with its imposing clock above the entrance and large wings with open balustrade parapets comprised of over twenty rooms, a private chapel, and two kitchens and located in its own grounds, Camden Park, west of the small common. Beyond lay Camden Wood, a wild area equal in size to the private grounds. In1870, that, at the commencement of the Franco Prussian War, The Empress Eugénie and her young son, the Prince Imperial, fled from Paris and sought refuge in Chislehurst, renting Camden Place from Nathaniel Strode for £300 per year. It was here that Louis Napoleon, nephew of Napoleon Bonaparte came after his release in 1871. Hardly the idyllic English cottage Louis had been anticipating, however, since the Imperial family’s entourage consisted of 39 permanent residents, it would hardly have been adequate. Louis’s bedroom was a small chamber on the top floor at the back, tucked away in the corner next to one of the semicircular projecting wings.The Emperor and Empress soon established a varied social life at Camden Place entertaining much royalty and nobility. Louis, Prince Imperial, their only child also resided at Chislehurst, although in 1872 he was stationed at the Royal Woolwich Military Academy as an officer cadet. On January 9th 1873, Louis Napoleon, who had been ill for some time, died. After a lavish and spectacular funeral, the procession stretching from Camden Place across the common to St Nicholas Church, he was buried at St Mary’s Church.In 1888 the Empress decided on a larger memorial to her husband and son than could be provided in Chislehurst, and so their remains were taken to St Michael’s Abbey, Farnborough, Hampshire, where they remain to this day. The Empress died in 1921.Subject to 20% VAT on Buyer’s Premium. For more information please view Terms and Conditions for Buyers.

A George I ebony table clock with `silent` pull quarter repeat on two bells Francis Gregg, London, circa 1725 The five finned pillar single chain fusee movement with verge escapement, rise/fall regulation via a snail shaped cam mounted to the rear of the dial and silent pull quarter repeat on two bells, the symmetrical foliate scroll and strapwork engraved backplate with central eagle motif above oval reserve signed FRA: GREGG, AT ST. JAMES`S the 5.75 inch brass break-arch dial with calendar aperture beneath XII over false bob aperture and shaped plate with repeat signature to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to outer track, the angles applied with female mask and drapery lambrequin cast foliate spandrels beneath arch centred with silvered regulation ring flanked by conforming spandrels, the case with generous hinged brass handle to the inverted bell top above front door with raised mouldings to the glazed dial aperture and upper quadrant frets, the sides with conforming break-arch windows, the rear with door matching the front set within the frame of the case, on cavetto moulded shallow skirt base with squab feet, 39.5cm (15.5ins) high excluding handle; with a later ebonised wall bracket with ogee mounded waist above cavetto moulded section terminating in an inverted ogee caddy, 18cm (7ins) high; the clock and wall bracket 47.5cm (22.5ins) high overall excluding handle. Francis Gregg is recorded in Loomes, Brian The Early Clockmakers of Great Britain as born circa 1677 and apprenticed to John Clowes in 1691 through to 1698, he is recorded working in Russell Street in 1711 and then in St. James`s 1714-29 when he was declared bankrupt. His work tends to be of high quality and distinctive with at least one longcase clock of month duration with annular calendar and equation of time of the type normally signed by John Topping known (illustrated in Robinson, Tom THE LONGCASE CLOCK page 232). The current lot is designed to sound the hours and quarters on two bells only on demand. This form of quarter repeat mechanism is thought to have been devised for timepieces destined for night-time use in the bed chamber; whilst striking clocks with quarter repeat facility were generally intended to be used downstairs during the day and upstairs at night. As a consequence silent-pull quarter repeating timepieces are rarer as the original owner would have to be very wealthy indeed to afford a timepiece exclusively for use in the bed chamber. The basic design of the repeat mechanism used in the current lot is devised from the earliest form used by the Knibb family of clockmakers and can be directly compared with another example by Gregg illustrated in Allix, Charles and Harvey, Laurence HOBSON`S CHOICE pages 78-9. The case is also of fine quality with generous handle, bold mouldings, break-arch side apertures and squab feet being reminiscent of those housing movements and dials by highly esteemed makers such as George Graham and Delander. An almost identical clock can be seen in the collection of the National Trust at Mompesson House, Salisbury.

Modern brass carriage clock, brass chamber stick, ladle and sieve Condition report: see terms and conditions

Brass ware, including a clock work roasting jack, iron handled saucepan and chamber stick. (5)

A Wileman & Co Foley Faience bedroom clock, of architectural form, transfer printed with windmills and sailing boats, registration number 379153, 11” wide, together with a Shelley chamber pot, pattern number 8509, 9 3/4” diameter (2).

Decorative pottery cheese dish and cover, a mahogany cased mantel clock, chamber candlestick, brass bell etc.

Keynote mantel clock, chamber pots and slide chambers

An early forged iron domestic Ôgreat chamber clockÕ Unsigned, German/Swiss, mid 16th century The two train movement with forged wheels, lantern pinions and wooden winding barrels with English style sprung clicks to the great wheels, the two-wheel going train with verge escapement regulated by foliot balance complete with cursor weights, the strike train with external fly, nagÕs head lifting and shaped cam for overlift fitted to the arbor of the second wheel driving the countwheel mounted to the rear for the frame (via teeth cut to the inside of the rim) for controlling the hours sounded via linkage to a hammer pivoted within a bearer above, the frame constructed with riveted lap joints, fitted with lower corner braces to right hand side and inverted Y shaped hammer linkage to the left, raised on four splayed feet pierced for securing, the 19 x 15 inch single handed rectangular painted iron dial with circular aperture and gilt starburst to centre within gilt painted Gothic Roman numeral chapter ring and floral painted decoration to spandrels, the lower margin now bearing the later date 1754, the frame 42cm (16.5ins) wide, 48cm (19ins) deep and 59cm (23ins) high, the clock 88cm (34.5ins) high overall. The current lot can be compared to a similar example sold at SothebyÕs New York MASTERPIECES FROM THE TIME MUSEUM, PART FOUR, VOLUME 1 13th October 2004, lot 500, a related but incomplete example was sold in these rooms on 6th September 2011, lot 113, and a third sold 22 February 2011, lot 255. The presence of a dial suggests that the current lot was designed to be installed where it could be seen perhaps high up within the ÔGreat HallÕ of a substantial house. The movement is also perhaps a good example the earliest layout of a striking timepiece to become standardised throughout most of Europe. Indeed the Salisbury Cathedral clock is almost identical in basic layout and specification (albeit on an entirely different scale) with the only significant difference being the fact that overlift for the locking detent in the strike train is achieved using a shaped cam cut with a notch rather than an incomplete hoop fixed to the rim of the second wheel. This difference in method for providing overlift appears to be a regional characteristic with clocks made in central Europe mainly utilising a shaped cam whilst makers in north western Europe preferred to use a hoop.

A fine William and Mary small ebony table timepiece with silent-pull quarter repeat and alarm Willaim Cattell, London, circa 1690 The seven finned pillar single fusee movement with verge escapement, silent-pull quarter repeat on two bells and alarm sounding on the smaller of the two, the symmetrical foliate scroll engraved backplate signed William Cattell, Londini fecit to a central shaped cartouche beneath leafy spray engraved and pierced backcock apron, the 6 inch square gilt brass dial with silvered alarm disc and single winding hole to the matted centre within applied silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes within the narrow outer track, the angles applied with gilt winged cherub head cast spandrels, the case with unusual gilt brass hinged carrying handle to the domed caddy surmount above complex top mouldings and foliate scroll pierced elongated lozenge shaped sound fret to the upper rail of the front door, the dial aperture with raised edge mouldings and with gilt cherub head and scroll cast escutcheon mounts to uprights, the sides with break-arch glazed side apertures, on conforming shallow skirt base with squab feet, 32cm (12.5ins) high. Provenance: The property of a private collector, formerly the property of Major Frederick Lord Aldersley Packman (1865-1944), a manuscript inventory of his collection included in the lot records the clock being gifted in February 1939, unfortunately the name of the individual who received the clock is indistinctly entered. William Cattell is recorded in Loomes, Brian The Early CLOCKMAKERS of Great Britain as apprenticed1664/5 to Edward Stanton and gaining his Freedom of the ClockmakersÕ Company in April 1672. He worked from Fleet Street and took his son, Thomas, as an apprentice in 1681. Loomes notes that William Cattell was not heard of later than 1687 and suggests that he died prior to 1697. The current lot is designed to sound the hours and quarters on two bells only on demand. This form of quarter repeat mechanism is thought to have been devised for night-time use in the bedroom; whilst striking clocks with quarter repeat facility were generally intended to be utilised downstairs during the day and upstairs at night. As a consequence silent-pull quarter repeating timepieces are rarer as the original owner have to have been extremely wealthy to afford a timepiece reserved exclusively for use in the bed chamber; especially one that was also fitted with an alarm mechanism. The current lot is extensively illustrated in ANTIQUARIAN HOROLOGY Volume 25 number 2 pages 202-3. These illustrations clearly show the repeat mechanism which is closely related to the system used by Joseph Knibb as described and illustrated in Allix, Charles and Harvey, Laurence HOBSONÕS CHOICE pages 36-7..

Pair of Continental brass chamber sticks, wrythen moulded, long handles, 30cms, another brass long-handled chamber stick, brass candlesticks, mahogany cased mantel clock and other items.

Anniversary clock (AF), 20thC cuckoo clock, chamber pot, ladies boots, fur gloves and stole.

A rare James I brass sundial. Inscribed John Robins, dated 1619. The 8.75 inch octagonal plate fitted with scroll decorated angled gnomen set at 51 degrees and centred with a thirty-two point compass rose with stylised sunburst and billowing cloud engraved decoration to segments and annotated NE, SE, SW and NE within the inner track, the middle track engraved N, E, S and W and inscribed Iohn Robins between N and E, the narrow outer track with Roman numeral chapters IIII-XII-VIII divided into quarter-hours as well as eighths, with floating asterisk half hour markers and engraved Anno Cristi *1619* between IIII and VIII, the angles with line engraved border panels and holes drilled for fixing. The engraved detail, octagonal shape and the profile of the original gnomen of the current lot closely conforms to features seen on three related sundials by William Bowyer, Richard Hinton and Isaac Symmes illustrated and discussed in White, George NOT A BAD TIMEKEEPER: THE ENGLISH LANTERN CLOCK IN THE SEVENTEENTH CENTURY (Antiquarian Horology Vol. 31 Sept. 2009 pages 624-8). Indeed the engraved N, E, S and W lettering is so close to those on the Hinton and Symmes dials that it would perhaps be reasonable to suggest that these three dials were engraved by the same hand. The narrow chapter ring, with its asterisk half-hour markers, also closely conforms with those of Bowyer and Hinton Dials and can be compared with the chapter rings applied to the earliest English domestic clocks such as Francis Nowe’s chamber clock of 1588 and the earliest ‘First Period’ lantern clocks made in the Harvey workshops (prior to 1620). The striking similarities between the current lot and the Hinton, Bowyer and Symmes dials is such that it is possible that they were all made for the same purpose in neighbouring workshops. As White suggests that these examples were made by clockmakers to be supplied alongside lantern clocks then it would perhaps be reasonable to suggest that the current lot was also possibly made by a clockmaker for the same purpose. If this is the case then a date of 1619 would place this dial amongst the products of a maker producing some of the earliest lantern clocks. The engraved name ‘Iohn Robins’ has clearly been added by a different hand than the maker of the dial -as indicated by style of the text with its hatched stems and very positioning on the dial. The style of the font (in particular the ‘s’ of ‘Robins’) suggests that this name was added soon after the dial was made and is probably more likely to be the name of the original owner rather than the maker. It is perhaps interesting to note that records indicate that a John Robins bought a farmhouse known as ‘Boddenhams’ from the Manor of Upton St. Leonards, near Gloucester in 1619. This location would certainly be close enough to the latitude 51 degrees North to allow the current lot to give reasonably accurate readings. Please note: The estimate in the printed catalogue is incorrect

A William III thirty hour longcase clock movement and dial. Zacariah Mountford, St. Albans circa 1700. The four finned pillar outside countwheel bell striking two-handed movement with anchor escapement and 9.75 inch square brass dial with foliate scroll engraved roundel and decorated calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers, Arabic five minutes within the outer track and signed Zac Mountford, at St. Albans to lower edge, with fine steel hands and applied winged cherub head and foliate cast spandrels to angles. The current lot is extensively illustrated and described in Darken, Jeff and Hooper, John English 30 Hour Clocks, Origin and Development, 1600-1800 pages 90-2. Darken and Hooper note that Zacariah Mountford was apprenticed in 1676 to William Speakman and was a member of the Clockmakers’ Company 1684-6 before moving to St. Albans. The strike train is unusual in that only one arbor is used for both warning and locking; with the lifting piece and integral warning flap pivoted separately via a collar on the arbor (to allow the warning flap to drop away when the lifting piece is released). The lifting piece/warning pivot can also be locked by inserting a pin into a hole drilled through the pivot collar into the locking arbor, this results in the strike train being permanently held in the warned state, hence this pin can be described as a form of crude strike/silent selection. This one-arbor system is reminiscent to those seen on some of the earliest of French chamber clocks with warned striking (circa 1600).

A fine and rare small William III ebony table timepiece with silent pull quarter repeat. Samuel Watson, London, circa 1695. The five finned pillar single fusee movement with verge escapement and silent pull quarter repeat on two bells, the symmetrical foliate scroll engraved backplate signed Samuel Watson, LONDON to a central shaped cartouche beneath elaborate pierced backcock apron, the 5.25 inch square brass dial with single winding hole and curved false bob aperture backed with scroll engraved infill to the matted centre within applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers and outer track divided to thirty second intervals and unusually numbered 0 to 60 twice, the lower edge with repeat signature, the angles applied with small winged cherub head spandrels within fine foliate scroll engraved border, the case with hinged cast gilt brass ‘Quare’ pattern double scroll carrying handle and vase centred foliate decorated repousse mount to the caddy surmount above moulded cornice and foliate scroll pierced lozenge sound fret to the upper rail of the front door the uprights with scroll decorated gilt repousse escutcheon mounts, the sides with short over long rectangular sound frets, on moulded shallow skirt base with block feet, (movement and case with old repair and restoration), 28cm (11ins) high excluding handle. Samuel Watson was an important clockmaker and mathematician who is recorded in Loomes, Brian The Early CLOCKMAKERS of Great Britain as initially working in Coventry from around 1680 where he was Sheriff in 1686 before moving to London in around 1691; he was admitted to the Clockmakers’ Company as a free Brother in 1692. He was supposedly ‘Mathematician ordinary’ to Charles II for whom he made an astronomical clock in 1682 followed by another clock which he did not finish until after the King’s death. This clock was eventually sold to Queen Mary on its completion in 1690 and is preserved at Windsor Castle albeit in a later case. He also made two further complex astronomical clocks for Isaac Newton and invented five minute repeating for watches. In November 1712 Samuel Watson approached the Clockmakers’ Company with an instrument to ‘discover the houre of the day at sea and several other useful mathematical matters’ but to no avail. The current lot is designed to sound the hours and quarters on two bells only on demand. This form of quarter repeat mechanism is thought to have been devised for timepieces destined for night-time use in the bedroom; whilst striking clocks with quarter repeat facility were generally intended to be utilised downstairs during the day and upstairs at night. As a consequence silent-pull quarter repeating timepieces are rarer as the original owner would have to be very wealthy indeed to afford a timepiece reserved exclusively for use in the bed chamber. The design of the repeat mechanism used in the current lot is very closely related to the system used by Joseph Knibb as described and illustrated in Allix, Charles and Harvey, Laurence HOBSON’S CHOICE pages 36-7. The reasoning behind the division of the outer track to thirty second intervals and the more confusing double 0-60 annotation is unknown, however the overall compact proportions and fine detailing such as the engraved border to the dial suggests that the current lot was supplied to a particularly discerning client from one of the best connected and enigmatic makers of the period.

Art Deco black and green veined marble two train figural mantel clock, the 3.5" silvered square dial signed Le Berre Ancel, Douarnenez, over a mercury pendulum within a four glass chrome banded chamber and four pillared case surmounted by a reclining spelter figure of a lady with a lyre, 17.5" high

Sundry tea wares, horse brasses, condiments, chamber pots, cutlery, mantel clock, copper posher, etc.(contents of 3 boxes)

19th Century Ridgways blue and white transfer printed miniature chamber pot, decorated with the Humphrey’s Clock pattern, 14.5cm diameter

A forged iron domestic `great chamber clock`. Unsigned, German/Swiss, late 16th century, The two train movement with forged wheels, a mixture of lantern and standard-leaf pinions, wooden winding barrels with English style sprung clicks to the great wheels and separate wheels driven via lantern pinions for key winding, the going train with verge escapement regulated by foliot complete with curser weights, the strike train with nag`s head lifting and countwheel (driven via teeth cut to the inside of the rim) controlling the hours sounded via a dragon headed hammer on a lugged bell supported above the frame, the 11.5 x 9 inch rectangular painted single-handed dial now with starburst decorated centre within cream ground Gothic Roman numeral chapter ring with winged cherub head painted decoration to lower angles and ribbon banner bearing Gothic script Wenn`s ubel geht habich Seduld, Herzag ich nit Io bringts mir huld to upper margin, the frame composed of one-piece forged upper and lower rings secured to the angled strip corner posts via baton-headed rivets, the upper terminals of the corner uprights narrowing and curving outwards and applied with shield shaped finials, the base with outswept feet, with winding key and two stone weights, (dial, escapement and superstructure with restoration) the frame 50cm (19.75ins) high, 34cm (13.5ins) wide and 42cm (16.5ins) deep, height including bell 66cm (22ins); supported on a purpose made welded steel stand, 204cm (80.5ins) high overall. The current lot can be compared to a similar lot sold at Sotheby`s, New York MASTERPIECES FROM THE TIME MUSEUM, PART FOUR, VOLUME 1 13th October 2004, lot 500. A related but incomplete example was sold in these rooms on 6th September 2011, lot 113. The presence of a dial indicates that the current lot was designed to be installed where it could be seen, however the overall relatively large size of the frame suggests that it was made to furnish a large interior space such as the Great Hall of a substantial house. The design and layout of the movement with nag`s head lifting, shaped cam for overlift and teeth cut to the inside of the countwheel to the strike train is typical of Germanic practice of the second half of the 16th century.

VARIOUS METALWARE to include a pewter chamber stick, a copper pot with iron handles and stand, further items to include a pair of pottery Portmeirion vases, a carriage clock, an onyx box and cover, a cut glass dish etc

A modern domed clock, two other mantel clocks, blue and white chamber pot and a Mason`s tureen (lid missing).

A Swiss iron chamber clock with Italian six-hour grande sonnerie striking, Unsigned, circa 1600 and later. The two (formerly three) train quarter striking movement previously with verge balance escapement and now striking the hour after every quarter using the Italian six-hour system, the hour and quarter trains controlled by contrate cams positioned to pump the hammer detents back and forth in relation to their respective pin wheel each being fitted with pins of graduated length, the predominantly iron wheelwork pivoted between iron vertical bars which locate via tenons into slots cut into a horizontal strip at the base, the top secured with another strip terminating with angled ends forged with pierced tenons passing through slots in the uprights and secured by wedges, housed in an iron box-form case with a pair of graduated lugged bells supported within two tier floral bud decorated bearer fronted by an integral pierced and shaped fret, the front with visible hour wheel to centre and remnants of a painted chapter ring, the sides with doors, the rear now with pendulum crutch and original spurs, 51cm (20ins) high. The basic structure and surviving original wheelwork in the current lot is probably Swiss and dates to around 1600. The two slots to the front of the case indicate that this clock was originally fitted with a mask automaton the jaw of which would have opened and closed with the action of the hour striking mechanism, a similar clock complete with such a feature is illustrated in Bassermann-Jordan, Ernst Von THE BOOK OF OLD CLOCKS AND WATCHES (English version translated by H. Alan Lloyd) page 106. The modification to Italian six-hour grande sonnerie striking was probably done around 1700 and utilises an unusual form of quarter striking mechanism. The train will run the same complete cycle every time it is activated, the relevant notation is governed by the position of the hammer tail in relation to the set of hammer lifting pins which vary in length. The hammer tail is in-turn controlled (pumped back and forth) by a contrate stepped cam connected to the dial motionwork. This type of striking mechanism resembles `whizz work`, a term which describes the action of the train which often runs-through whilst providing very few hammer blows, and is perhaps similar in principle to some of the earliest forms of English quarter-repeat work.

A forged iron domestic `great chamber clock` movement, Probably German or Swiss, late 16th century. The two train movement with forged wheels and sprung pawl clicks to the pulleys, the going train originally with verge and foliate regulation now converted to verge and short pendulum, the strike train with internal fly and pivoted external hammer linkage lever (lacking lifting detent arbor and countwheel), the frame with one-piece forged upper and lower rings secured to the angled strip corner posts via wedged mortice and tenon joints, the upper terminals of the corner uprights worked into decorative flared scrolls, the base with outswept feet, the front with pinion to drive dial motionwork and four holes to the frame for securing a dial (lacking), the frame 44.5cm (17.5ins) high; with a forged iron bell bearer of similar date with integral top-pivoted hammer and large lugged bell. The current lot can be compared to a similar example sold at Sotheby`s, New York MASTERPIECES FROM THE TIME MUSEUM, PART FOUR VOLUME 1 13/10/2004, Lot 500. The presence of a pinion to drive motionwork and holes for attaching a dial to the front of the frame indicates that this movement was originally fitted with a dial hence was probably designed to be installed where it could be seen, perhaps in the great hall of a substantial house.

A wood and copper printing block, the face in the form of a heron on a lake, three other printing blocks, a brass hand bell, a brass doorstop, plated chamber stick, a low and high water tide guide clock etc

A pair of brass candlesticks, chamber candlesticks, candle snuffers, oil lamps, starburst wall clock etc.